This is a collection of exploratory illustrations, and designs focused on a near future where genetically engineered house pets exist.
The first several illustrations were done to explore and capture the moon of the pets. I was interested in exploring what kinds of mischief they might get up to. This helped me form a series of narratives that delve into their world.
After exploring these creatures through illustration, I moved into individual design. I started by trying to empty my head of all the shapes and forms that were knocking around while illustrating. Then I picked several to refine further.
Along the way the idea of “dog catchers” entered my mind so I spent some time exploring them. Not nearly as in depth as the creatures, but enough to convey a sense that these animals might pose a higher threat than your average house pet.
I also wanted to put these animals in a space and through a cinematic lens.
Finally some ideas for tech fell out of my head. They are interned to have a mid-century, future aesthetic.
The Nuclear Maw is not just a race, it is the race. For some, it is a one-way ticket to glory; for others, it is a religion that shapes their way of life. The race can be a last resort for a cornered scoundrel or a sentence handed down to a criminal. Whatever beckons, the constant is, those who attempt it are rarely seen again and those who have completed it are of myth and legend. There are no rules, but to by any means possible, cross through The Nuclear Maw.
Once a mighty civilization stretched across the vast territory that is now known as The Nuclear Maw. Tales recall a glittering city of light that burned so intensely that it reduced all to ruin. The tales, however, don't reveal the full terror of what was left behind. In the wake of if the dying light the forsaken land gave birth to all manner of mutation and manifestations of the arcane.
Inside The Nuclear Maw racers will face challenges ranging from unending radiation storms, nomadic mutant cannibals and ravenous gargantuan beasts to hunger, thirst, and exhaustion. However, of all of these hardships, none compare to the lengths a fellow racer will go for their chance at glory.
This is a collection of illustrations that depict specimens from another place, planet or reality.
This grouping of images was done of the course of a week. They are rough and unfinished. Their purpose was to jump start a conversation about narrative and mood.
Some images contain elements of work I had done first with Jasper and ix. The two collections are intended live if the same world, but are opposite ends of the social spectrum. Functionally, this helps speed things along and allows for my focus to be on exploration rather than execution.
A collection of specimens. Light, Shape and Shadow.
Jasper and Ix is a personal project. It is inspired by fantastical science fiction but grounded in real life problems and events, such as a wedding.
A series of illustrations that feature distinctly colored dinosaurs and their relationship with birds.
A collection of sketches, designs and concept illustrations of heroes from DOTA2.
Over the course of four years I was directly responsible for the visual development of over one hundred characters and creatures featured in-game. I was also involved with writing, casting and recording the voices of those characters. My work set the tone of the project and was used as a guide for visual development.
I would approach most characters with a round of thumbnail sketches. After discussion and feedback I would refine those thumbnails before completing a final design illustration. Often I, or along with another artist, would then build a 3D proxy model. From there I would support a sculptor with any supplemental material they needed.
Character development for an internal R&D project. The project was a fantasy adventure game centered around cooperative combat and driven by story.
Development of these characters started with a round of loose sketches. The goal was to present as many groups of four adventures as possible in order to establish a diverse cast of archetypal characters. After discussion and feedback the group was paired down to ten characters. They would become the projects main characters.
During the development I created a mood sketch for each character. They were done in a classic sci-fi/fantasy book cover. Each sketch represents a slice of the world each character came from as well as a hint at who they are and what they do. This collateral art helped convey the direction quickly and facilitate creative discussion for each character.
Creature development for an internal R&D project. The project was a fantasy adventure game centered around cooperative combat and driven by story.
Each image represents the result of a robot themed morning warm up routine.
Early designs for characters that were intended to to expand the DOTA universe. Each piece was intended to serve as both concept art and promotional art.
An internal pitch project aimed to bring female characters to the cast of Team Fortress 2.
I was responsible for story, character development and visual design. With the exception of their class function, It was important that each design presented an entirely new character. I wanted these characters to live on their own and add dimension to the current roster of in-game characters. The goal of the project was to dive deep into possibilities and facilitate creative discussion.
A collection of Illustrations and sketches used for various DOTA2 applications. They ranged from conceptual and in-game art to promotional and update page art.
These environmental studies of the Barrow Downs are from an untitled Lord of the Rings game.
Character designs from a DOTA related cartoon.
The goal of this work was to develop a streamlined visual style that would translate well into a 2D animated feature or series. This work was a crucial in between step from in-game assets to final 2D model sheets. I also used the character art to develop lighting and direction for shot locations.
*Environment art by Jeremy Bennett.
Concept sketching and a drafting only excerpt from the DOTA2 comic, The Last Castle.
I was responsible for layout pencils, final inks, color art direction, character design and story development.
Design and implementation of in-game item icons for DOTA2.
The challenge in developing these item icons was to create something that needed to be read at a glance but also be a functional piece of equipment. Colors, shapes and item type were used to establish a language for reading icons quickly in game.
Several designs were selected to be produced by Weta Workshop and sold at the annual DOTA2 tournament, The International. Those designs were taken to further detail for development of a physical prop.
A collection of Team Fortress 2 and DOTA2 update page art from 2009-2015.
Images from top to bottom:
DOTA2 Spirits Update key art
Diretide update page process
Frostivus update page header
TF2: WAR slash image
TF2: WAR item illustrations
TF2: UBER update page header
TF2: ENGINEER update page header
TF2: Halloween illustration
TF2 The Ambassador (also responsible for design and production of the item)
TF2: Soldier Victory illustration.
Design for the compilation VR project The Lab: Xortex. While not originally intended for Xortex these designs were re-purposed and became a basis for Xortex's bullet hell drone.
The shield itself is intended to look like it was forged by an ancient but magically enhanced society. Ornate, but clean and almost modern looking. It is forged from bronze and silver and clad in leather. At the center of the shield the DOTA emblem rests within a knotted flower. Surrounding the center are two silver reliefs depicting the armies of the Dire and Radiant in an eternal struggle. Knot work inspired by both eastern and western cultures frame the distinctive shield shape.
Graphic illustrations of Team Fortresss 2 characters and DOTA2 heroes. These illustrations were featured on exclusive t-shirts.